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GOOD AS GONE

Debut novelist Gentry delivers on genre expectations with crisp, unobtrusive writing and well-executed plot twists.

A kidnapped girl, missing for eight years, shows up on her parents’ doorstep…but is it really her?

Houston, Texas, literature prof Anna Whitaker lives in an etiolated reality where she has to get out of bed every morning “to face a world where the worst thing has already happened and somehow I am still alive.” In the eight years since her 13-year-old daughter, Julie, was abducted, she has given up hope, watching numbly as her marriage and her relationship with her other daughter, who witnessed the kidnapping, are strained to the breaking point. But in Chapter 2, Julie shows up on the front porch, having narrowly escaped from a human trafficking ring and the man she was sold to. The chapters that follow narrate Anna’s experience as the shock and euphoria wear off and she comes to suspect that this blonde, blue-eyed young woman is not really her daughter. These alternate with sections that follow what seem to be one or more runaway girls through various scenarios of sexual abuse, life on the streets, foster homes, and other miseries. “By the time she got to San Francisco, she’d lost track of the men who got her there, but at least she remembered their names. Their names were Pete. Two Petes in the bus station. A Pete in the bathroom of a Diamond Shamrock gas station.…She turned 14 between Petes, but she wasn’t sure when exactly the day passed, and anyway to Petes she was 16, to police, 18.” These back-and-forth points of view which eventually dovetail in the big reveal (and the big reversal) are a popular tactic for the emotional thriller, especially since the success of Gone Girl, at which this book’s title seems to consciously take aim.

Debut novelist Gentry delivers on genre expectations with crisp, unobtrusive writing and well-executed plot twists.

Pub Date: July 26, 2016

ISBN: 978-0-544-92095-8

Page Count: 288

Publisher: Houghton Mifflin Harcourt

Review Posted Online: May 29, 2016

Kirkus Reviews Issue: June 15, 2016

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DEVOLUTION

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).

A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Pub Date: June 16, 2020

ISBN: 978-1-9848-2678-7

Page Count: 304

Publisher: Del Rey/Ballantine

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 3, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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